Goldfinger (recently rereleased theatrically by Park Circus and currently doing the rounds) epitomises all that we know, and on the most part, love about 007 and his antics. Combine Sean Connery, arguably considered the best Bond to date, a mastermind plot that would be worthy of today’s film-dwelling criminals, and the ultimate in freaky villains; the result is spy-celluloid-history.

Made in 1964 Goldfinger was the follow-on from Dr. No and From Russia With Love. The plot, by this point, had matured enough to set the standard formula for all Bond movies to follow. The specialists at Technicolor have excellently re-mastered the film to increase the viewing pleasure of an already classic Bond-era.

Mr Bond’s attempts to put stop to a typically outlandish scheme by the super-rich Goldfinger (played by Gert Frobe) and his blowing up of Fort-Knox set the scene. Harold Sakata plays Goldfinger’s spookily well-aimed side-kick, Oddjob, who lies to rest more than one Bond-girl. Particularly memorable is the death-by-gold love interest found suffocated by the shiny stuff on Bond’s hotel room bed. (More than slightly reminiscent of this scene is the death of Gemma Atherton’s character, Strawberry Fields, in 2008’s Quantum of Solace). The intriguingly-named Pussy Galore (Honor Blackman) seems to be caught up with Mr Goldfinger but eventually comes good, as only a 1960s version of a blonde with brains could.

Sean Connery is the perfect 007. Watching the film will transpose you to a time when your ultimate hero was, and could only be, the heroic British spy: He is stylish (for the decade in question – note the towel/bathing suit early on), he is handsome, he attracts beautiful women, he is unapologetically arrogant, he escapes some certain-death moments (look out for the strategically placed laser gun) and he has that car. The almost shamedly gadgeted Aston Martin substantiates an exciting car chase. The vehicle comes with built-in, and put to good use, ejector seat and a host of other ingenious devices.

Director Guy Hamilton’s adaptation of Ian Flemming’s hit novel shows Bond setting the way for his other spy-like contemporaries to follow. This Bond leaves all other films of the genre standing, and I think this is why it is so enjoyable to watch today as well as way back when. Today’s Bond follows the spy film set-rules a little more than Goldfinger. Competing with the likes of Jason Bourne, the 21st-century Bond doesn’t make a break or stand alone in quite the same way as the post cold-war character did.

I don’t think Goldfinger can be faulted. Apart from the odd one or two dated scenes, the film constantly entertains the audience. From Shirley Bassey’s performance of ‘Goldfingaaar’ to the fast-paced and unashamedly outlandish plot the experience continues to be a pleasure, even after 40 years.

Words > Alexea Williams